A small vintage circus dancer puppet in a leaping pose on a red fringe-covered platform.
A small vintage circus dancer puppet in a leaping pose on a red fringe-covered platform.

Alexander Calder, Calder's Circus (detail), 1926-31 (installation view, High Wire: Calder’s Circus at 100, Whitney Museum of American Art, New York, October 18, 2025–March 9, 2026). Wire, wood, metal, cloth, yarn, paper, cardboard, leather, string, rubber tubing, corks, buttons, rhinestones, pipe cleaners, and bottle caps, dimensions variable. Whitney Museum of American Art, New York; purchase with funds from a public fundraising campaign in May 1982. One half the funds were contributed by the Robert Wood Johnson Jr. Charitable Trust. Additional major donations were given by The Lauder Foundation; the Robert Lehman Foundation, Inc.; the Howard and Jean Lipman Foundation, Inc.; an anonymous donor; The T. M. Evans Foundation, Inc.; MacAndrews & Forbes Group, Incorporated; the DeWitt Wallace Fund, Inc.; Martin and Agneta Gruss; Anne Phillips; Mr. and Mrs. Laurance S. Rockefeller; the Simon Foundation, Inc.; Marylou Whitney; Bankers Trust Company; Mr. and Mrs. Kenneth N. Dayton; Joel and Anne Ehrenkranz; Irvin and Kenneth Feld; Flora Whitney Miller. More than 500 individuals from 26 states and abroad also contributed to the campaign 83.36.1-72. © 2026 Calder Foundation, New York / Artists Rights Society (ARS), New York. Photograph by Gus Powell

Last chance

High Wire: Calder’s Circus at 100
Through Mar 9
Learn more about the exhibition Book Tickets
A large group of people dance together outdoors, raising their arms, while others watch and walk nearby.

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The Whitney Biennial is the longest-running survey of American art, and has been a hallmark of the Museum since 1932. The current format—a survey show of work in all media occurring every two years—has been in place since 1973. Mark your calendars for the next iteration, opening March 2026. 

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artport

Check out art that's created specifically for the web on artport—the Whitney's gallery space for Internet and new-media art.

Dive Into Our Collection

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  • Dark smoke stacks towering against a gray sky
    Dark smoke stacks towering against a gray sky

    Elsie Driggs, Pittsburgh, 1927. Oil on canvas, overall: 34 1/4 × 40 1/4 in. (87 × 102.2 cm). Whitney Museum of American Art, New York; gift of Gertrude Vanderbilt Whitney 31.177. © Estate of Elsie Driggs

  • Hand-scribbled colorful letters read "Crossing all the borders" in green, blue, and red.
    Hand-scribbled colorful letters read "Crossing all the borders" in green, blue, and red.

    Hock E Aye Vi Edgar Heap of Birds, Crossing All the Borders, 1987. Pastel on paper, sheet: 22 × 29 7/8 in. (55.9 × 75.9 cm) Image: 22 × 29 7/8 in. (55.9 × 75.9 cm). Whitney Museum of American Art, New York; purchase, with funds from the Drawing Committee 2018.137.10. © Hock E Aye VI Edgar Heap of Birds

  • Two juxtaposed profile views of the same woman, one with a large nose and one with a small nose
    Two juxtaposed profile views of the same woman, one with a large nose and one with a small nose

    Andy Warhol, Before and After, 4, 1962. Acrylic and graphite pencil on linen, overall: 72 1/8 × 99 3/4 in. (183.2 × 253.4 cm). Whitney Museum of American Art, New York; purchase, with funds from Charles Simon 71.226. © The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

  • Small CRT monitor with blue screen showing clouds mounted on a white gallery wall with cord.
    Small CRT monitor with blue screen showing clouds mounted on a white gallery wall with cord.

    Cory Arcangel, Super Mario Clouds, 2002. Handmade hacked Super Mario Brothers cartridge and Nintendo NES video game system, dimensions variable. Whitney Museum of American Art, New York; purchase, with funds from the Painting and Sculpture Committee 2005.10. © Cory Arcangel. Courtesy of the artist

  • A hand uses pliers to cut barbed wire in front of a tall watchtower.
    A hand uses pliers to cut barbed wire in front of a tall watchtower.

    Toyo Miyatake, Untitled (Opening Image from Valediction), 1944. Gelatin silver print mounted on board, sheet: 9 7/16 × 7 5/16 in. (24 × 18.6 cm) Image: 9 3/8 × 7 1/4 in. (23.8 × 18.4 cm) Mount: 17 × 13 15/16 × 1/16 in. (43.2 × 35.4 × 0.2 cm). Whitney Museum of American Art, New York; purchase, with funds from the Photography Committee 2014.243. © Toyo Miyatake Studio

  • Painted with angular lines and emotionless faces, three suited men gaze over two open caskets, with a courthouse in the background
    Painted with angular lines and emotionless faces, three suited men gaze over two open caskets, with a courthouse in the background

    Ben Shahn, The Passion of Sacco and Vanzetti, 1931–1932. Tempera on canvas mounted on composition board, overall: 84 × 48 in. (213.4 × 121.9 cm). Whitney Museum of American Art, New York; gift of Edith and Milton Lowenthal in memory of Juliana Force 49.22. © Estate of Ben Shahn / Licensed by VAGA at Artists Rights Society (ARS), New York

On the Hour

A 30-second online art project:
Frank WANG Yefeng, The Levitating Perils #2

Learn more about this project

Learn more at whitney.org/artport

On the Hour projects can contain motion and sound. To respect your accessibility settings autoplay is disabled.